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Conducted by Timothy Ray Dill 
April, 1997 

Will Murray, author, pulp historian, literary agent for the Lester Dent estate, and the list of titles continues. 
If you love pulps and the stories behind the stories, then you know of Will Murray. His definitive works on pulp 
legends Walter B. Gibson and Lester Dent are legendary themselves. He discovered Doc Savage through 
the Bantam paperbacks in the late sixties and eventually became "Kenneth Robeson" to officially pen the Doc 
Savage novels in the nineties. The Doc Savage series is currently in hiatus, but Will would love to write a few 
more. We would love it too. Will. 

Tim Dill: You earn a living as a professional 
writer. Could you compare your modern day 
experiences with those of a vintage pulp writer? 

Will Murray: I think it's harder to get 
established these days. Fewer markets. Narrower 
markets. In the pulp era, if Black Mask rejected a 
story, you could try it on any number of lesser 
markets until it sold. These days, there are almost 
no magazine markets to launch a writer full-time. 
It's also interesting that writers are less well paid 
than then. Dent got $750.00 per Doc--about a 
cent and a half per word. People writing the 
Executioner, for example, earn about a penny or 
two a word. And a 1997 penny has only a fraction 
of the buying power of a 1 937 penny! I had a hard 
time breaking in. It took years. Many pulp writers 
got off the ground within the first year. It's funny. I 
used to wish I had lived in the Depression so I 
could write for the pulps. I don't anymore. Most 
pulp writers wrote formula stuff about ordinary 
cops, detectives and such mundane heroes. 
Unless you were Dent or Gibson or Chandler or 
Howard or Lovecraft, you were constrained to write 
tripe. Today, there's more artistic freedom, 
royalties, etc. Although I see bad omens. Too 
many good writers today are forced by economic 
necessity to pen Star Trek , etc. novels when they 
should be doing their own characters. If writers 
become mere tools of media phenomena like Star 
Wars, we're going to lose a generation of writers 
who should be creating the characters of the 
future. I'm guilty of that too. My latest novel. War 
Dogs of the Golden Horde , published under the 
name, Ray W. Murill, is a Mars Attacks novel. 

Tim Dill: About ten years ago, you said that 
you crammed all of your published material into 
two bookshelves and watched it grow as a 
motivational tool. Do you still do this? How many 

bookshelves are crammed full of your material 

Will lUlurray: I started that about 20 years 
ago, actually. That bookshelf now contains my 
Bantam Doc Savage collection--or what will fit. My 
published works--now some 50 novels, assorted 
short stories in various anthologies and possibly a 
couple thousand articles in magazines ranging 
from Starloq to Lovecraft Studies -long ago moved 
to a tall bookcase and then exploded beyond the 
point where a single bookcase could contain them. 
I've been forced to store much of it in boxes, 
although I do shelve my novels and anthology 
appearances. I would need a large room to 
properly display everything now. My chief 
motivation these days is deadlines and checks. 

Tim Dill 


What projects are currently on your 

Will lUlurray: Let's see. This fall my first- 
and probably ov\\\/ --Executioner novel will be 
released. Red Horse . I did it as a lark. A DAW 
anthology called The UFO Files will contain 
another of my Cryptic Events story called 
"Diplomatic Exchange." I have a Spider-Man 
novelette, Side-by-Side witli tlie Astonisliing Ant- 
Man coming up in The Untold Tales of Spider-Man 
anthology. Have just gotten approval for a l-lulk 
novelette for a 1998 Marvel anthology. The 
Ultimate Hulk , which I'm calling Transformations. 
Upcoming in Starlog , I have interviews with Doc 
Savage model Steve Holland and Shadow interior 
artist Edd Cartier. This summer, a third 
Necronomicon Press Clark Ashton Smith collection 
I've edited. The Treader of the Dust will be 
released. My big project at the moment is 
resuming my Lester Dent biography, which got 
sidetracked when I took over the Desfroyer series. 

Copyright© 1997 by Vintage New Media. All Rights Reserved. 

An Interview With Will Murray 

I've had discussions with a small press publisher 
about this project, and I guess it's just a matter of 
clearing the time and picking up the threads. It's 
been a deferred dream for a while. I hope to see it 
realized. I should mention that I recently left the 
Desfroyer series after a solid ten-year run. I was 
not enjoying it anymore. I really didn't want to quit, 
but felt that was the way to go. Having written 
some 4-6 long novels a year over a ten-year 
stretch, I'm decompressing from novel-writing. I 
imagine the right project will come along to get me 
going again. 

Tim Dill: You've based characters in your 
Destroyer novels on pulp fans Tom Johnson and 
Nick Carr. What other inside novelties have you 
inserted into your books? 

Will IVIurray: God, there must be dozens of 
in-jokes and the like scattered over my 40- 
something Destroyers. I once wrote a series of 
humorous short stories about a PI named Mike 
Brunt. I stuck him in a Destroyer once. It was 
#77: Coin of the Realm . A character in #80: 
Hostile Takeover , P. M. Looncraft, was loosely 
based on H. P. Lovecraft. Cthulhu cameoed in 
#100: Last Rites . My last Desfroyer before I bailed 
from the series, #107: Feast or Famine , ended 
with Remo going off with a woman I based on my 
then-fiancee. I've since become unfianced. If I 
ever return to the series-a possibility I suppose-l 
will have to resolve that situation somehow. 
Lester Dent's treasure-hunting adventures inspired 
a Marvel Destroyer comic book I once scripted 
called "Golden Rule." A lot of my film assignments 
for Starloq have inspired Destroyers. My week on 
the set of Rambo III in 1988 inspired Shooting 
Schedule . A lot of people have wondered what 
stuntman/movie actor was the model for Sunny 
Joe Roam, first introduced in Shooting Schedule 
and revealed to be Remo's father in Last Rites . I 
based him on Dick Durock, whom I met on the set 
of The Return of Swamp Thing . As a big fan of 
1960s Marvel Comics, I tend to insert sly 
references to Things Marvelous. Under the name 
Martin S. Lieber, Stan Lee was a major character 
in Rain of Terror . The number 334 occurs often. 
It's my street address. 

Tim Dill: You've said in the past that Lester 
Dent and Stan Lee have had a major influence on 
your writing. What other authors have influenced 
you in the past and how do they influence you with 
your current projects? 

Will IVIurray: I think my major influences 
other than Dent and Stan, have been Walter B. 
Gibson, H. P. Lovecraft, Clark Ashton Smith, 
Raymond Chandler, Sax Rohmer, and Talbot 
Mundy. From Gibson, I learned to plot on a higher 
level and to keep the reader involved and 
guessing, not just from chapter to chapter, but 
from book to book. He really is the third major 
influence on how I write. All others, their influence 
has ebbed with the passing of time. It's there, but 
I'm not consciously aware of it. When I write 
novels, I guess I consciously try to write with 
Gibson's cleverness of plot and Dent's excitement. 
They are my two pulp Masters. 

Tim Dill: You met Norma Dent, the wife of 
the late Lester Dent, and maintained a 
professional relationship with her until her death. 
You became the literary agent for the Lester Dent 
estate and have been responsible for the 
reprinting of many Dent stories. How did you meet 
Mrs. Dent and come to serve in that capacity? 

Will IVIurray: My first contacts with Mrs. Dent 
were by letter and telephone around 1973, when I 
was launching Duende , my short-lived pulp 
fanzine of so long ago. I first met Mrs. Dent at the 
1977 Pulpcon, and we became friends. She 
invited me to her home, an invitation I finally took 
up in 1978. She was a steady strong-minded soul 
who had a profound impact on my life and career. 
I visited La Plata 3 times all told, and can still smell 
the dryish scent of old Doc Savage manuscripts 
that smacked me in the face when I opened the 
antique steel filing cabinet that contained the 
carbons of the first few years worth of Doc 
manuscripts. It was in one drawer that I stumbled 
across the fateful outline called Python Isle , which 
would be the first novel I ever wrote, and the 
experience that launched my fiction career. I 
became the literary agent for the Dent estate when 
I brokered the complicated deal in 1978 that 
resulted in the lost Doc novel, which I retitledjhe 
Red Spider , being published. It was a tricky 
situation. Bantam wanted to publish it. Conde 
Nast owned the copyright but not the manuscript. 
And Mrs. Dent owned the manuscripts but no 
rights to it. For a while there was a huge impass, 
but happily it all worked out. After that, I handled 
all Dent rights matters. I'm very proud of the fact 
that my hard work earned me the privilege of 
finishing some of Lester Dent's uncompleted Docs. 
But I'm more proud I helped give Mrs. Dent some 

A production of Vintage New Media^ 


An Interview With Will Murray 

income during her most frail years. I see it as my 
way of repaying Lester for the entertainment and 
inspiration he gave me. She was wonderful to me. 

Tim Dill: Have you actively marketed Dent 
stories or mainly been available for requests from 

Will Murray: Both. Most sales are the result 
of requests. But if I discover a market, I will 
pursue it. When Richard Kyle launched the new 
incarnation of Argosy , knowing that he was a huge 
Doc and Dent fan, I offered him several stories I 
thought appropriate to Argosy , and he brought 
two, Punkins and the Moon Varmint and Two 
Kukulcans, both of which are forthcoming. When 
my friend Don Hutchison announced a collection 
of Royal Canadian Mounted Police pulp stories 
through Mosiac Press, I offered him a choice of 
three Dent's, figuring he'd take one. He took all 
three! Blazing Tunics is the working title, and it will 
feature two stories--one never published--about a 
bizarre Dent Mountie hero called the Silver 
Corporal. It's due later this year. As one might 
imagine, markets for some of Dent's stories are 
hard to find. I think his two Black Mask stories 
featuring Oscar Sale will be reprinted as long as 
readers care about Hardboiled P.l's. But other 
than fanzines, I don't see much opportunity to 
market his WW! air-war stuff, of which he wrote 
over a dozen stories. Some time I would like to 
assemble the best of his western yarns into a 
collection--but one-author collections are tough to 
market these days. 

Tim Dill: You are the latest Kenneth 
Robeson and have written seven authorized Doc 
Savage novels for Bantam books with the last 
being published in 1993. The "All-New Adventures 
of the Mighty Man of Bronze" is currently in hiatus. 
You posted a number of chapters of your 
unfinished Doc novels on the internet with hopes 
that it would spur the interest of fans and Bantam 
to continue the series. The legal department of 
Conde' Nast Publications, Inc., the copyright 
owners of the Street & Smith characters, sent a 
"cease and desist" letter to you. Inquiries about 
copyrights and possible publishing projects 
involving Conde' Nast properties have been 
referred to the legal department instead of the 
marketing department. It seems like Conde' Nast 
would rather sit on their pulp properties for the 
moment than utilize them. What is happening 
inside the Conde' Nast organization? 

Will Murray: Actually, none of this has 
anything to do with Conde Nast. I believe the 
concerns originate within Bantam Books, who 
currently holds the license to publish Doc. I 
suspect Conde Nast would prefer Bantam resume 
their Doc program in order to keep the character in 
the public eye and possibly generate interest in 
Hollywood. Conde Nast politely asked me to stop 
posting Doc chapters to protect their claim to the 
character. I think the e-mail response to my Doc 
chapters caused Bantam to alert Conde Nast. As 
for what's going on inside Bantam, I have no direct 
knowledge. The licensing agreement expires 
some time before the year 2000, and they will 
have to do something or lose the right to do Doc. I 
remain cautiously optimistic that I will be asked to 
write a few more Docs. But the decision is entirely 
in Bantam's hands. 

Tim Dill: Being a professional writer and 
also one of the top experts in the pulp history field, 
what is your view of the future of Doc Savage and 
other pulp characters in the main stream 
publishing market? 

Will Murray: Unless there is a major Doc 
Savage movie to catapult the character into the 
national consciousness, I suspect Doc interest 
may stagnate or dwindle. It's sad, but for a 
character to remain popular there has to be a 
media tie-in and a renewable audience. 
Teenagers don't read like they used to and this is 
choking off the future of pulp characters. The 
prospects for other pulp heroes, possibly 
excepting The Shadow, are even more dire. The 
potential is there. But to flourish they have to be 
published and promoted. We live in an era where 
American mainstays like baseball and comic 
books are dying from slow declining interest. 
Reversing these trends involves major efforts. I 
don't see any. While I feel there may be another 
Doc revival, without a media-tie in like a TV show 
or film, I fear it will be a last gasp. At least in the 
mass-market arena. On the other hand, it's so 
cheap to reprint Doc, Bantam may release a 
smattering of old ones every few years just to hold 
on to the rights. As long as they keep Doc alive, 
something could happen. 

Tim Dill: You wrote an honors thesis, 
entitled Doc Savage: The Genesis of a Popular 
Fiction l-lero, while at the University of 
Massachusetts in Boston. Dent's work as well as 

A production of Vintage New Media^ 


An Interview With Will Murray 

a lot of pulp fiction is not usually considered 
legitimate literature by scholars. Did the University 
instructors have any problems with the subject 

Will Murray: I hadn't thought about this in 
many years. As I recall, my advisor, Professor 
Willey, was very open to the subject but kept 
pushing me to compare Doc to more literary 
works, like Frank Norris' MacTeaque . Being 
stubborn, I resisted this because I wanted to delve 
into Doc in terms of the pulp field and the 
Depression. My thesis did pass, but I understand 
there was some dissent. But not enough to deny 
me credit. Ironically, about a month after 
graduating, I visited Doc editor John L. Nanovic in 
New York and learned from him the story of 
Colonel Richard Henry Savage, the true-life 
inspiration for Doc. If I had only known this a few 
weeks earlier, my thesis would have been that 
much more groundbreaking. Not that I think it 
would have mattered to the dissenters on the 
faculty board. But that was so long ago.... 

went with The Thousand-Headed Man because it 
was one of Dent's favorite Docs-the other was 
Sargasso Oqre -and had almost been made as a 
movie starring Chuck {The Rifleman) Connors in 
1967. The project stalled out due to lack of 
funding for over two years. I had completely given 
up when Roger called to say it finally got off the 
ground. Roger kindly sent me audition tapes so I 
had input into picking the cast and theme music. I 
remember going to the last taping and the wrap 
party, which was a lot of fun. I interviewed 
everyone for an article but never got around to 
writing it. We talked about a second set of 
episodes. I wanted to do Resurrection Day and 
Roger was leaning toward adapting my then- 
unpublished Python Isle . We never got past the 
talking stage. Again, funding thwarted future 
serials. But it was a great experience. 

Tim Dill: You have said in the past that you 
would like to write a novel which features both The 
Shadow and Doc Savage. Have you plotted this 
one yet? 

Tim Dill: Your pulp related articles are 
sought after by old and new fans alike. Have you 
ever considered reprinting them or posting them to 
your web page? 

Will Murray: I'm too busy to do the 
necessary retyping. But it is something I'd like to 
see happen. For several years, Necronomicon 
Press has had plans to collect my best articles on 
H. P. Lovecraft in booklet form. It's to be called 
Mapping the Mythos: Cthulhu's Cartographer 
There has also been some talk of collecting my 
best non-Lovecraft pulp articles. But Necro has 
gotten so busy with their trade paperback program 
I don't know when or if these things will happen. 

Tim Dill: In 1985, "Adventures of Doc 
Savage" was produced for National Public Radio. 
You adapted one of the two shows from a Doc 
Savage tale. These radio dramas are really 
excellent. Tell us the background on this project. 

Will Murray: It started when producer- 
director Roger Rittner contacted me about rights to 
the 1934 Dent Doc radio scripts. He wanted to 
recreate them. But the 15 minute format made 
that unworkable. I think I suggested adapting two 
novels in the I Love a Mystery serial form instead. 
Roger picked Fear Cay because it involved Pat. I 

Will Murray: No. For a while, I considered 
sticking The Shadow into The Ice Genius , one of 
my unfinished Docs, because it had a worthy 
villain. I believe I also toyed with putting The 
Shadow into another planned Doc, The War 
Maker . Ultimately I sensed we weren't going to 
get the rights to use The Shadow, so I abandoned 
the whole idea. It sure would have been a kick to 
bring those two great characters together in a way 
that would work. These days, I would be happy 
just to finish up my unfinished Docs. I've written a 
lot of novels, but those 7 Docs remain my 

Tim Dill: Can you explain your relationship 
with Walter B. Gibson, the creator of The Shadow, 
and relate some anecdotes? 

Will Murray: I met Walter at a comic book 
convention in New York City in 1974, where I 
interviewed him. Our friendship grew from there. I 
have a lot of special memories of Walter. Editing 
what turned out to be his final Shadow story. 
Blackmail Bay, for The Duende History of The 
Shadow Magazine . (He submitted it untitled, I 
imagine knowing I'd get a kick out if titling it.) I 
remember him doing his magic act at various 
Pulpcons. He would be doing the usual 
handkerchief-and-wands trick when he would 
pretend to goof. Your heart would sink, thinking 

A production of Vintage New Media^ 


An Interview With Will Murray 

he'd gotten too old to pull a sleight off. But he was 
just manipulating his audience, as he did in The 
Shadow. In person or in print, he was a master of 
the fake out. One day he called me with a 
problem. He was going to write a new Norgil the 
Magician story and had decided Norgil's real name 
would be W. Bates Loring, an anagram of Walter 
B. Gibson. He couldn't think of what the W. stood 
for. I offered him my first name, William. Later, he 
amended it to Williams, after Williams College. 
Unfortunately, he never got around to writing the 
story. Walter was an amazing guy. I feel very 
lucky to have been his friend and still miss hearing 
his hoarse voice coming over the telephone wire. 

Tim Dill: I once heard that Walter B. Gibson 
was working on a new Shadow novel prior to his 
death. I also heard that Gibson's estate was 
auctioned to pay his bills. What can you tell us 
about these rumors? 

Will Murray: I alerted the guy who ultimately 
bought the unfinished Shadow novel of the 
impending auction. He tells me all Walter 
managed to write was a chapter or so--before The 
Shadow makes his entrance. There's an outline of 
sorts, I think incomplete. So it's not much more 
than a curiosity. The story was to feature the 
return of Shiwan Khan. It's untitled. Among those 
papers was another unfinished Shadow item. A 
1934 Shadow radio serial Walter wrote on spec. 
It's a brand-new story, but alas, incomplete. The 
auction took place only a year or so ago. It wasn't 
to pay Walter's bills, but was triggered by the 
declining health of his widow, Litzka, who since 
passed away. 

Tim Dill: John Nanovic was Street & Smith's 
editor for The Shadow and Doc Savage 
magazines among others during the "golden" age 
of the two series. He played significant roles in 
plotting and shaping the stories. I read once that 
he didn't even know that Bantam was reprinting 
Doc Savage until you mentioned it. What can you 
tell us about Mr. Nanovic's role in pulp history then 
and now? 

enjoyed the stories he was editing. The hero 
pulps gave the pulp magazine field probably an 
extra decade or two of borrowed time, until TV 
finally dealt the death blow. John's skill helped 
make all that possible. Nanovic made an 
important decision early in his career. He let the 
writer write in his own style. Other S&S editors 
preferred to edit the magazines into a sort of gray 
S&S house style until everything in an issue read 
as if the same bored hack had penned it. 
Because of Nanovic, Dent's exciting voice came 
through uncensored. That's the chief reason we 
can read and enjoy Doc today. Today, John is 
basically retired, and shows only a mild interest in 
the old days. It's too bad. He was a hell of an 
editor in his day. 

Tim Dill: Why do you think pulp fiction has 
survived and is increasing in popularity? 

Will Murray: There's a line in Sunset 
Boulevard where Norma Desmond said, "We didn't 
need voices then. We had faces." Well, pulp 
fiction writers had voices. You could read a 
paragraph of Gibson and instantly know it from 
Norvell Page. Robert J. Hogan wrote nothing like 
Frederick 0. Davis. Think of the pulp writers who 
stood out, who are still read today. They pounded 
out narrative-driven stories that forced a writer to 
develop a distinct narrative voice. That's why 
when we read a bad Doc, it's still enjoyable. 
Dent's familiar voice keeps us reading. Today, the 
dialogue-driven story written in the so-called 
"transparent style" mode is in fashion. Writers 
don't have voices. I think today's reader hungers 
for stories written in a distinctive voice. They find 
them in the past. I don't know what was in the 
water back in the first half of the 20th Century, but 
there was a lot of vitality in even the popular 
writers of that period. Have there been ground- 
breaking giants like H. P. Lovecraft, Robert E. 
Howard, Dashiell Hammett and others who 
virtually created new kinds of heroes and sub- 
genres within scant years of one another since? 
No. I sometimes wonder if we'll ever see a period 
as fertile and creative ever again. 

Will Murray: In my opinion, John Nanovic 
was the most important pulp editor of the 1 930s, 
bar none. He edited the two formative hero pulps. 
The Shadow and Doc Savage , as well as many 
others like Nick Carter , The Skipper , The 
Whisperer , Pete Rice , and The Avenger . He was 
young and unlike a lot of his contemporaries. 

Tim Dill: You are a frequent guest at 
Pulpcon. What experiences have you had at 

Will Murray: I used to go to the Pulpcons to 
buy pulps and meet my pulpy friends. These days 
I go to see my old friends and meet my readers. I 

A production of Vintage New Media^ 


An Interview With Will Murray 

have pretty much all the pulps I ever wanted. 
Twenty years of Pulpconning has produced a blur 
of images. But this stands out: When I went to 
my first Pulpcon in 1974, the old-timers who read 
my articles were surprised to discover I was in my 
20s. People thought I was 45 or so--like many of 
them. At the last Pulpcon I attended, a young fan 
came up and expressed astonishment that I was 
only in my 40s. After reading my articles he was 
sure I'd be at least 65! 

Tim Dill: The 1994 Universal film. The 
Shadow, was very controversial with pulp fans and 
also a box office flop. Your excellent book. The 
Duende History of The Shadow Magazine was the 
source book for the film. Unfortunately David 
Koepp's script deviated from the pulp perspective 
significantly although James Luceno's novelization 
of the screenplay was much better. What are your 
thoughts about the film and the book now? 

Will Murray: I remain very gratified that the 
film was as true to Gibson's vision as it was. 
Having read previous scripts, I saw how truly awful 
it might have been. I think the biggest problem the 
filmmakers had--and I'm referring to the producer, 
director and cast too--is that they failed to connect 
with the potential audience. They didn't 
understand The Shadow's basic appeal or why 
people were so captivated by him. Consequently, 
they tried to make him more realistic, giving him 
dark motivations and explaining too much of his 
background. In stripping away all mystery in favor 
of giving Cranston a 90s psychological motivation, 
they threw away the essential appeal of The 
Shadow: he's a fantasy figure. A dark angel of 
good using the psychological tools of the evil to 
defeat true evil, not a bad guy trying to wrestle with 
his inner demons. Gibson's Shadow, whatever 
inner demons he might or might not have had, 
knew who he was and what he was about. Still, 
it's a hell of a better film that might could have 
been, and I'm grateful for that. Everyone should 

Tim Dill: After the box office 

disappointments of the recent pulp inspired films, 
what is your opinion of the future of our pulp 
heroes in the theater? 

once in a while talk of filming Doc Savage 
surfaces. But nothing happens. The hope of the 
future is a major Doc film. It could still happen, but 
right now the lights on the 86th floor are out, and 
night is closing in. Of other pulp heroes, I see 
scant chance of Spider, G-8, or Avenger films-- 
especially since The Phantom tanked. Yet there's 
a new Zorro movie in the works. Indiana Jones 
may be revived. And Tarzan will be a major 
Disney animated film in a couple of years. So 
hope springs eternal. 

Tim Dill: What role do you see the internet 
playing in the future of pulps or in books in 

Will Murray: This is a very intriguing 
prospect. I've been collecting pulp-related 
paperback reprints or some 25 years now and as 
the years go on there are fewer and fewer of them. 
New writers are crowding the old out. But also, 
paperback publishers have higher and higher 
sales expectations-something Doc and The 
Shadow and others can't aspire to when the 
highbar is Star Wars -level sales. One interesting 
trend of late has been small press publishers 
doing pulp reprints profitably. For Necronimicon 
Press I've been editing trade paperback collections 
of Clark Ashton Smith-who you can't give away to 
paperback publishers-yet the small trade editions 
do quite well and have resulted in a rekindling of 
interest in Smith. I think this is one important trend 
in keeping the pulp flame alive. This suggests to 
me the other will be the internet. The audience 
may be shrinking because there are no mass 
market vehicles for pulp fiction. Internet venues 
can arrest that. Even reverse it. Let's face it, 
electrons are cheaper than paper. And niche 
publishing is a coming thing. I know one former 
paperback distributor who believes the paperback 
is doomed. I tend to agree with him. It's in an 
upward death spiral of declining readership and 
escalating cover prices-the first $8.00 paperback 
came out last month-that may kill paperbacks 
forever before long. Popular fiction should be 
cheap and disposable. The paperback is not. 
Given that fact, niche publishing and the internet 
look very promising. I guess one big question 
remains: Will electronic publishing be profitable? 
The answer to that lies in cyber-space. 

Will Murray: Right now, they look pretty 
grim. There are two Universal direct-to-video 
Shadow features in the works. They might be 
good, they might be terrible. We'll see. Every 


A production of Vintage New Media^ 


An Interview With Will Murray 

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